Document Outline

• Cinema Tools User Manual
  • Contents
  • An Introduction to Cinema Tools
    • Editing Film Digitally
      • How Does Cinema Tools Help You Edit Your Film?
      • What Cinema Tools Does
    • Why 24P Video?
    • Working With 24P Sources
    • Editing 24P Video
    • About This Manual
    • Apple Websites
      • Cinema Tools Website
      • Apple Service and Support Website
      • Other Apple Websites
  • Part I: Using Cinema Tools
    • Before You Begin Your Project
      • Before You Shoot Your Film
        • Be Careful How You Save Money
        • Which Film to Use?
      • Transferring Film to Video
        • Telecines
        • Transfer Techniques That Are Not Recommended
          • Film Chains
          • Recording a Projected Image With a Camcorder
        • How Much Should You Transfer?
          • Camera-Roll Transfers
          • Scene-and-Take Transfers
      • Frame Rate Basics
        • Working With NTSC Video
          • Performing a 3:2 Pull-Down
          • What’s an “A” Frame?
          • Running the Film at 30 fps
        • Working With PAL Video
          • 24@25 Method
          • 24&1 Method
        • Working With 24P Video
        • Timecode Considerations
          • General Timecode Tips
          • About NTSC Timecode
          • What Happens to the Timecode After Using Reverse Telecine or Conform?
      • Sound Considerations
        • Choosing an Audio Recorder
        • Choosing an Audio Timecode
        • Mixing the Final Audio
          • Finishing the Audio With Final Cut Pro
          • Exporting Audio EDLs
        • Synchronizing the Audio With the Video
          • Synchronization Basics
          • Synchronizing During the Telecine Transfer
          • Synchronizing in Final Cut Pro
      • Working in Final Cut Pro
        • Setting the Editing Timebase for Sequences
          • Outputting to Videotape When Editing at 24 fps
        • Using Effects
    • The Cinema Tools Workflow
      • Basic Workflow Steps
        • How the Database Works
        • A Detailed or Simple Database?
        • Importing Telecine Logs
        • Manually Entering Database Records
        • Are the Window Burn Numbers Correct?
        • About Compression
        • Capturing Tactics
        • Reverse Telecine
        • Conform
      • Cinema Tools Workflow Examples
        • If You Used Scene-and-Take Transfers
          • Workflow for a Scene-and-Take Transfer With a Telecine Log
          • Workflow for a Scene-and-Take Transfer Without a Telecine Log
        • If You Used Camera-Roll Transfers
          • Workflow for a Camera-Roll Transfer (Clip-Based Method)
          • Workflow for a Camera-Roll Transfer (Timecode-Based Method)
    • The Cinema Tools Interface
      • Cinema Tools Windows and Dialogs
        • New Database Dialog
        • Detail View Window
        • List View Window
        • Find Dialog
        • Clip Window
        • Reverse Telecine Dialog
        • Conform Clip Dialog
        • Identify Window
        • Clip Analysis Dialog
        • Change Reel Dialog
        • Database Properties Dialog
      • Dialogs in Final Cut Pro and Cinema Tools
        • Film Lists Dialog
        • Change List Dialogs
        • Export Audio EDL Dialog
    • Creating and Using a Cinema Tools Database
      • Understanding the Basic Structure of a Cinema Tools Database
      • Deciding How You Should Create the Database
        • Capturing Before You Create the Database
        • If You Have a Telecine Log or ALE File
          • Advantages of Using a Telecine Log or ALE File
        • If You Do Not Have a Telecine Log or ALE File
          • Is Your Edge Code Number-to-Timecode Relationship Continuous or Noncontinuous?
          • A Potential Database Shortcut for Camera-Roll Transfers
        • Additional Uses for the Database
      • Creating a New Database
        • Settings in the New Database Dialog
          • Film Standard
          • Video TC Rate
          • Sound TC Rate
          • TK Speed
      • Entering Information in the Database
        • Importing Database Information
          • Importing Database Information From a Telecine Log or ALE File
          • Importing Database Information From a Final Cut Pro Batch Capture List
          • Importing an Existing Cinema Tools Database
        • Entering Database Information Manually
          • Understanding the Relationship Between Scenes, Shots, and Takes
          • Creating a New Database Record
          • Using Scene, Shot, and Take Identifiers
          • Entering Information in a Database Record
          • Settings in the Detail View Window
          • About the Descriptive Scene and Shot Data
        • Using the Identify Feature to Enter and Calculate Database Information
          • Using the Identify Window to Enter Edge Code Numbers and Timecode Values in the Database
          • Calculating and Entering Clip Timecode Duration in the Database
      • Modifying Information in the Database
        • Deleting a Database Record
        • Choosing a Different Poster Frame for a Clip
        • Changing the Default Project Settings
        • Changing All Reel or Roll Identifiers
        • About Modifying Data in the Identify Window
      • Verifying and Correcting Edge Code Numbers and Timecodes
      • Working With the Database
        • Opening an Existing Database
        • Finding and Opening Database Records
          • About Backing Up, Copying, Renaming, and Locking Databases
        • Accessing Information About a Source Clip
    • Capturing Source Clips and Connecting Them to the Database
      • Preparing to Capture
        • A Caution About Using OffineRT Media With Cinema Tools
        • Avoiding Dropped Frames
        • Setting Up Your Hardware to Capture Accurate Timecode
          • What Is Device Control?
          • If You Are Capturing With a Serial Device Control Deck
        • Considerations Before Capturing Audio
        • Generating a Batch Capture List From Cinema Tools
          • Advantages of Using a Cinema Tools Batch Capture List
          • How Cinema Tools Names Batch-Captured Clips
        • Considerations Before Capturing Clips Individually
      • Connecting Captured Source Clips to the Database
        • Avoid Moving or Renaming Your Source Clips in the Finder
        • Using the Connect Clips Command to Connect Source Clips
        • Using the Detail View Window to Connect and Disconnect Source Clips
        • Using the Clip Window to Enter or Disconnect Source Clips
      • Fixing Broken Clip-to-Database Links
        • Reconnecting Individual Clips That Have Been Renamed or Moved
        • Locating Broken Links and Reconnecting Groups of Clips That Have Been Moved
    • Preparing the Source Clips for Editing
      • Determining How to Prepare Source Clips for Editing
        • Choosing an Editing Frame Rate
        • Ways You Can Prepare the Source Clips
      • Using the Conform Feature
        • Conforming One Clip at a Time
        • Batch Conforming Several Clips at a Time
      • Reversing the Telecine Pull-Down
        • Tips for Using Reverse Telecine
        • Determining the Field Capture Information
        • What Is Field Dominance?
        • Using Reverse Telecine on a Single Source Clip
        • Checking Your Reverse Telecine Results
        • Using Batch Reverse Telecine
        • About “A” Frames
      • Making Adjustments to Audio Speed
      • Synchronizing Separately Captured Audio and Video
      • Dividing or Deleting Sections of Source Clips Before Editing
        • Strategies for Breaking Down Source Clips Before Editing
        • The Difference Between Self-Contained and Referencing Clips
        • Deleting a Source Clip File
    • Editing
      • About Easy Setups and Setting the Editing Timebase
      • Restrictions for Using Multiple Tracks
      • Using Effects and Transitions
        • What About Color Correction and Filters?
        • Including Titles, Supers, and Transitions
        • About Interpositives
        • Contact Printing vs. Optical Printing
      • Tracking Duplicate Uses of Source Material
        • Using Nested Sequences When Checking for Duplicate Uses
        • Ensuring Cut List Accuracy While Editing 3:2 Pull-Down or 24&1 Video
    • Generating Film Lists and Change Lists
      • Lists You Can Create With the Film Lists Dialog
        • Cut List
        • Missing Elements List
        • Resolving Missing Elements
        • Dupe List and Double Usage Warnings
        • Optical List
        • Pull List
        • Scene List
        • Optical Scene List
      • Exporting Film Lists
        • Settings in the Film Lists Dialog
        • How Cinema Tools Defines Standard-Length Transitions
        • Tips for Entering the “Starting at” Point
      • Creating Change Lists
        • When Are Change Lists Used?
        • Exporting Change Lists
        • About Change Lists, Effects, Gaps, and Soundtracks
        • If You Need to Reel Balance
        • Settings in the Change List Dialog
        • Using the Export Change List Feature From Within Cinema Tools
    • Export Considerations and Creating Audio EDLs
      • Considerations When Exporting to Videotape
      • Considerations When Exporting Audio
        • Exported Audio File Formats
      • Exporting an Audio EDL
        • Where’s the Audio Timecode?
        • Using Cinema Tools to Export an Audio EDL
        • Settings in the Export Audio EDL Dialog
        • Audio Track Usage
        • Using the Audio EDL Export Feature From Within Cinema Tools
    • Working With External EDLs and ALE Files
      • Creating EDL-Based Film Lists
        • Generating Film Lists
        • What Actually Happens to the EDL
      • Working With ALE Files
        • Supported ALE Fields
        • Importing an ALE File
        • Exporting an ALE File
  • Part II: Working With 24P
    • Working With 24P Video and 24 fps EDLs
      • Considerations When Originating on Film
      • Editing 24P Video With Final Cut Pro
        • What Is Downconverted Video?
        • Using One Final Cut Pro System for Both 24P Offline and Online Editing
        • Using 24P Video With Final Cut Pro and Cinema Tools
        • Using Final Cut Pro as a 24P Online Editor
          • Copying the Project
          • Importing EDLs
        • Using Final Cut Pro as a 24P Offline Editor
          • About the 24P Aspect Ratio
          • Using the Reverse Telecine and Conform Features
          • Exporting 24 fps EDLs
          • Converting NTSC EDLs to 24 fps
      • Adding and Removing Pull-Down in 24P Clips
        • What Is 2:3:2:3 Pull-Down?
        • Working With 2:3:3:2 Pull-Down
        • Removing 2:3:3:2 Pull-Down With Final Cut Pro
        • Removing 2:3:3:2 or 2:3:2:3 Pull-Down With Cinema Tools
          • Using Automated Reverse Telecine on a Single Clip
          • Using Automated Batch Reverse Telecine
        • Pull-Down Patterns You Can Apply to 23.98 fps Video
        • Adding Pull-Down to 23.98 fps Video
      • Using Audio EDLs for Double System Sound
  • Part III: Appendixes
    • Background Basics
      • Film Basics
        • Frame Size
        • Perforations
        • Film Edge Code
        • Speed
      • Editing Film Using Traditional Methods
      • Editing Film Using Digital Methods
    • How Cinema Tools Creates Film Lists
      • About the Clip-Based Method
      • About the Timecode-Based Method
    • Solutions to Common Problems and Customer Support
      • Solutions to Common Problems
      • Calling AppleCare Support
  • Glossary
  • Index
    • A
    • B
    • C
    • D
    • E
    • F
    • G
    • H
    • I
    • K
    • L
    • M
    • N
    • O
    • P
    • Q
    • R
    • S
    • T
    • V
    • W